Photographic Lenses

Since optical designs of photographic lenses (wide angle to telephoto) differ so radically we will not go into detail about optics. This lesson will cover a basic discussion of lenses and some good tips on lens use and care. Lenses are designed to refract (bend) light rays. Here is a basic convex lens (crude drawing below). Notice that this bends the light towards the center of the film plane. A magnifying glass is a basic convex lens.

A concave lens bends the light away from the center. In modern camera lenses, you will find a variety these lenses with some individual elements oddly shaped.

Below is a cutaway illustration of a typical camera lens. Notice the different shapes of the elements. The science of optical design has become quite sophisticated and as it has progressed we, the photographers, have benefited with sharper, faster, lenses with greater color purity.
 

 Depth of field is a term we use in dealing with the sharpness of objects in our field of view. We know the subject we focused on will be sharp, but what about objects in front of, and behind? We control the sharpness of those objects by using THE APERTURE which is built inside each lens.

 

The aperture is used primarily for controlling the exposure (the lesson on Exposure follows this page, be patient) but it also controls the depth of field (depth of sharpness would have been a better term). Words cannot explain this as well as visuals so take a look below at how different aperture settings can control the sharpness of objects in front of, and behind, the subject you are focusing on:

Wide open .. f2.8 to f4.5

“Optimum” .. f8 or f11


Stopped down …. f16 to 32

If the lens aperture is “wide open” the depth of field is very shallow… notice how the runner (below) is sharp and the other players are out of focus. However, if you close the aperture all the way down objects in front of, and behind, will appear much sharper (see below).

By keeping the aperture wide open (left) we give the runner a “3D” look. He stands out among the out-of-focus players and our eye is drawn to him. If we close the aperture down (right) more objects are in focus and the runner gets lost in the crowd. 

 

Therefore, if you have a camera that offers Manual Control, use “depth of field” to help draw attention to the objects you consider important. Now to some other tips lenses … TIPS ON LENSES: We always use a UV filter in front of the lens (instead of bothering with lens caps). The filter protects the lens and blocks out unwanted, hazy UV light. The glass used in photo lenses is covered with a coating (to correct some color problems) therefore, you should be very careful when cleaning the lens. We suggest that you not use lens cleaning fluids, rather a gentle blowing (your breath has moisture) followed by a gentle wiping with a clean, soft cloth or lint-free napkin. If the lens is seriously smudged then put a drop of lens cleaning fluid on the cloth and gently wipe. DO NOT apply lens cleaning fluid directly onto the lens… the fluid could get into the edges and destroy the adhesive that keeps the element attached to the barrel. Don’t bring a lens in from extreme cold … the moisture inside will instantly freeze up the whole lens. It is best to carry the camera under your winter coat when not in use. When making photos you should make sure the lens is in the palm of your hand, freeing up the fingers to focus. This takes the pressure of the lens mount AND provides for more steadiness. When using a telephoto lens you should also tuck your elbow into your side … which offers you more camera support (i.e., less shake).

When carrying the camera on your shoulder (using the strap) the lens should point inward to protect the glass and keep it from banging into other things … like little people. You’ll find that the camera is now positioned in such a way that when you reach for it, it will go into your hand easier and feel more natural.

 

FILTERS: There are numerous filters out there, some designed to correct color/light problems … others add special effects. We will discuss three basic filters (which you probably should have). UV/HAZE filter: It cuts out ultra-violet light rays. Although invisible to the naked eye, ultra-violet rays give bluish tint and haziness in color photographs. UV/HAZE filters make the picture clearer. This filter does not block enough light to cause you to make an exposure compensation, therefore it is should be kept on the lens at all times to protect the lens surface. POLARIZING filter: This filter subdues undesired reflections from non-metallic surfaces such as water, windows, etc. When used in color photography it will darken blue sky by blocking atmospheric haze. By eliminating that haze skies will be bluer, red objects will be redder …. in fact all colors will be much more saturated and true. CLOSEUP filters: These are simple lenses that, when attached to the front of your lens, will allow you to focus much closer … allowing you to make full-frame images of very small objects. The more powerful the closeup filter, the more you will have to “open up” the lens, because these filters do “absorb” some of the light rays. The filter should come with instructions that will tell you how much exposure compensation you should make. If not, simply experiment … AND take notes. Next we need to look at

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Light and The Photographer

 Light is the primary working tool of the photographer. Light is the visible portion of the electro-magnetic spectrum. The spectrum starts from red, the weakest of rays, all the way to violet which is the strongest of rays.

Light rays from the sun are considered white and they contain all the colors of the spectrum. Black is the absence of any color.
When we place a prism in front of a white ray, the prism will diffract (separate) that light into
all the colors of the spectrum. Stop for a minute and watch this:

When we place a LENS in front of any ray, that lens will simply refract (bend) that ray.

So, being in focus simply means moving the lens elements forward and backward until all the rays coming toward the camera from the subject meet at one point; the focal point on the film.
In the illustration above, you will see a point where the rays meet.  That point is also called the film plane.   At that point, all light rays of the subject must meet to accomplish sharp, focused pictures.
Here’s a quick primer before you move on to shui photography lesson #2: Light and the Human Eye. You’ll learn that your eyes combine colors differently than colors are combined when painting.

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A Basic Refresher On Using Your Camera

Most adjustable cameras are quite similar. You should be able to use these pictures to find the controls on your camera. However, we will also use a typical “Point and Shoot” camera in a few of the illustrations. Their controls are quite similar to digital camera controls.
If you are ONLY concerned with digital cameras then visit Digital Cameras, I strongly recommend you follow my lead if you really want to learn photography, by focusing on your photography skills.

Check for Film

Make sure there is film in the camera. There is only ONE way to be sure, wind the rewind lever (see pic, turn in the direction of the black curved arrow) about 6-8 times. If it tightens up you have film inside. If it winds easily, no film.
Before you put film in be sure to set the film speed on the dial. On this camera it is the shutter speed dial. It’s just set by lifting the dial and turning.

If you have a totally automatic “point and shoot camera you should have a window on the back. A slit that allows you to see what film you have inside. If there is no film the slit will simply look black.

Check the Camera’s Batteries

Check the battery. If it is dead your camera will usually operate at one speed (usually 1/90th).
If the camera won’t work, try cleaning the battery before buying a new one. A pencil eraser does a real good job. These batteries tend to oxidize and you need to clean that coating off so it makes a good connection. (The battery is usually found on the bottom of the camera, underneath a round, slotted screw). On Point and Shoot, and digital, cameras the battery compartment is on the right hand side.
If the camera still doesn’t work, get new batteries. If it STILL is kaput, take it to a good camera shop.
For a quick primer on Film and Batteries visit Film Types.

Loading Film

To load the camera you need to open the back. A lot of cameras require you simply lift the rewind knob to open the back. Some cameras have a latch on the left (see red dot in the pic, the latch is just below it) that you must press to lift the rewind knob. Other models have a sliding latch on the left hand side of the body.
Once open, place the film cartridge in the chamber, as shown, and push the rewind knob down to lock the cartridge in place. Then, pull the film to the right and insert into the slot. Close the back and advance the film three frames.

Using a Flash

If you want to use a flash you mount it above the prism on the “hot shoe” mount. (See the mount at left edge of picture) You must set the shutter speed at the correct speed or below. The orange number “60″ on the shutter speed dial (May be slightly different on your camera) indicates the fastest
shutter speed you can use with a flash. You may use any shutter speed at, or below, the speed indicated in red. More on flash below.

Initial Settings

Notice that the wind lever is “open”. Doing this turns the internal light meter on. Pushing the lever inward shuts off the battery, saving battery power. You can read the light meter by looking inside the viewfinder. You will usually see pointers, that need to be lined up, OR you’ll see blinking LED lights. Green indicates proper exposure and Red means you must change the aperture or shutter speed. We usually set the shutter speed first….


… and then adjust the aperture. You can see the aperture ring in the photo, it has 5.6 inline with the yellow line. To learn more about exposure control click Exposure Control.
The round button to the right of the lens is used to unlock the lens for removal.
At the front of the lens you will see a clear filter. It is a Haze filter, which helps reduce haziness AND is kept on the lens at all times since we don’t use lens caps (except when we pack for traveling).

The Self Timer is located (in the photo) to the left of the lens. It has a white stripe on the lever. Crank it downward, push the shutter button and dash in front of the camera to make a self-portrait. It usually takes 10 seconds for the timer to wind down and trigger the shutter.
The Depth of Field lever is located above and to the right of the Self Timer. It is either a round button or a lever like this. Depressing it will close the aperture (to wherever you have set it) so you can determine the approximate depth of field (sharpness).
We try to avoid aiming the flash directly at the subject. Instead, aiming the flash upwards – bouncing the light off the ceiling – will spread the light and give a softer, more even lit picture without harsh shadows.
For more info on Flash Photography visit Flash Photography.
Point and Shoot and digital cameras have flashes that cannot be bounced. I usually put a piece of Mystic tape over the flash head to soften the light. You can also put a piece of very thin napkin or toilet paper over the flash head. It really makes a difference.

Camera Protection and Maintenance

We hardly ever keep our camera in the leather case that usually comes with it. These cases are too cumbersome and they discourage camera use. If you put a Haze filter on the lens you’ll protect it just as well.
And, we are reluctant to squirt lens cleaning fluid on the lens elements. Better to simply breath moisture SOFTLY onto the glass and gently wipe it with a lint-free napkin.
Please write down the Hints and try to follow them for a few rolls of film. These hints will improve your photography quite a bit.
PLEASE REMEMBER… when you push the shutter button DO NOT jab or punch that button. SQUEEEEEEEZE it. By doing so you eliminate any camera movement and improve you chances of making a sharp photo, you may want to even pay attention to your breathing and gently breath out as you squeeze the shutter. In other words, punching the shutter release is the biggest cause of fuzzy photos.

Camera Hints

1. Read the directions!!!!!
2. Stick with one film (and film) speed until you thoroughly understand how it works …. at least for the first 5 or 6 rolls.
3. Stick with one good processor… forever.
4. Take notes on the first 5 or 6 rolls. when you make mistakes you’ll immediately be able to troubleshoot your mistakes.

You should have a solid knowledge of photography, optics, light, composition, etc. before you start going into the advanced courses.
If you have forgotten the basics, I strongly urge you to start at the beginning with Photography 101. I cannot stress too much how important it is to have the information provided in the basic lessons. They provide a solid foundation and will definitely help you make really fine photographs. MAKE fine pics, not just take ‘em.
Here is a diagram of controls for a typical SLR. See how many match your camera.

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Photolearn learn how to photograph still life

Photolearn learn how to photograph still life

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Learn & Master Photography - Learn Digital Photography

 

 

 Learn & Master Photography is the newest course in the Learn & Master series. It is a comprehensive course on digital photography. Learn how to make your photos come to life in the comfort of your own home!

 

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Learn Photography: Understanding Light Metering & Exposure

 

 

Learn Photography: Understanding Light Metering & Exposure 

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Photography Tips and Techniques, Learn Photography Camera Course

 

The Complete SLR Digital Photography Course -
Why buy our Photography Courses
Well first of all if you are reading this then you have an SLR you have probably paid in excess of $1000 dollars once you have all the lenses and accessories, unfortunately most people do not ever take their camera off the auto settings which is a complete waste, our course is $19.99 and will be the best photography equipment purchase you will make and also the cheapest

Do you offer Support with the Photography Courses
We offer full email support for free..

Is there any Guarentee with the Photography Courses?
We offer full money back if you do not improve 100% at least...

Where can i find reviews of your Photography Courses
We are the number one selling course on Ebay, take a look at our feedback, we have helped 10 year olds to 80 year olds, across all makes of cameras, SLR's Compact and point and shoots. We have literally sold thousands of courses and have not received one return, we have 100% Feedback

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We are the only course to have a 5 star rating on both Amazon in America and Amazon in the Uk

5 star rating on Amazon.co.uk click to see reviews

5 Star rating on Amazon.com click to see reviews

So What will I learn in your Photography Courses?
The complete SLR Digital Photography course has everything you need to start shooting quality professional photos in a little under 2 hours.
It's complete with professional settings; find out how the pro's set up their camera so you are shooting with exactly the same settings.
This course is suitable for all SLR camera models, Canon, Nikon, Sony ect..
The course encompasses these subjects delivered over DVD.
How to achieve those tack sharp photos
The fundamentals of a good shot, if you abide by these simple rules you will always have great shots.
How to reduce Camera Shake, (one of the biggest problems in photography
How to shoot in Raw
How to hold your camera properly to shoot handheld in low light situations.
How to compose your picture properly using the rule of thirds
How to compose using leading lines
ISO and which settings are best
Aperture how to use it properly to achieve professional results.
How professionals use cropping to improve their photos.
How to remove unwanted items from your photo.
Correct use of timers and remote controls.
Reflectors, how to use them to get that professional look in portraits.
How the pros use exposure bracketing to always get the right exposure
Using exposure compensation to get the right exposure in tricky situations.
Camera modes explained and how to use each one correctly.
Metering modes explained and how you can use them to make sure you always the perfect shot
How to frame your picture properly, filling the frame and using natural frames
How professionals use burst/continuous mode to always get that perfectly times shot.
Corrrect use of focus lock and its use in composition.
Proper settings for compression and quality
Camera sensors explained and which ones are best for landscape or portraits.
Noise and the best ways to reduce it
And much more...

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Master your Digital SLR Camera and learn Photography

Learn to use your digital SLR camera with this Elephorm Training DVD containing over 3 hours of video tutorials. View the excerpt on Lens Changing. The course covers all aspects of photography : framing, light exposure, lens selection, rules of composition, color and the numerous controls and functions available on modern digital cameras.
 

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Which Metering Mode to Use?

Here’s a useful way to think about the metering modes to help you better understand when to use them. Think of the metering modes like the shooting modes in your camera. Your camera has a full auto mode, semi auto or semi manual mode (aperture priority and shutter priority) and a full manual mode.

Likewise, you can categorize the metering modes in the same fashion:

• Full auto = evaluative or matrix metering
• Semi auto = center-weighted average metering
• Full manual = spot metering

Full auto mode

Evaluative or partial metering: In this metering mode, the camera takes a reading from multiple sections of the entire scene, placing emphasis on the autofocus point.

Evaluative or matrix metering allows the camera to “do all the work.” You simply point and shoot. The camera determines the proper exposure by analyzing the light from the “entire scene” so you can’t really control the exposure.

In evaluative metering there is slight emphasis placed on the autofocus point of the scene, so you have a little bit of control there. However, besides the selection of the autofocus point, you really have no control over how the camera sets the exposure and therefore you must rely solely on the camera’s algorithm.

Use evaluative or matrix metering mode when you want speed and convenience over precision.

Semi auto or semi manual mode

Center-Weighted Average Metering: Your camera takes a light reading from the center area of the scene (6o to 80%) feathering to the edges and leaving the corners untouched.

Center-weighted average metering is the middle point between full auto and full manual. Think of it like the camera does “half the work” and you do the “other half.”

This mode gives you better control over what areas of a scene you want to expose, thus increasing your likelihood that you get the exposure you want, but to get the best use out of center-weighted average metering - you have to know where to take the meter reading from.

Use center-weighted metering modes when you want speed and convenience with some precision.

Full manual mode

Spot Metering: In this metering mode, the light reading is taken from a small spot of roughly 3% of the scene.

Spot metering gives you full control over what area of your picture you want to take a light reading from and thus requires that you know which spot to select. Spot metering forces you to understand how your camera works and makes you “think” about your photograph.

Just as you should learn how to use full manual shooting mode on your camera, I advise you to learn how to use the spot metering mode as much as possible. In the long run, you will be a better photographer for it.

Use spot metering mode when you want full precision and control.

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How to Develop Your Photographer's Vision in 8 Steps

Writer’s have what they call their writer’s voice. To them, it’s the most important thing they must develop in order to be a successful writer. Ask any writer and they will probably tell you that it wasn’t until only after they discovered their “voice” that they were free to express themselves truthfully. For you, as a photographer you must learn to develop your own version of the “writer’s voice” - and that is, your photographer’s vision.
This article will list 6 steps that will help you to develop and cultivate your photographer’s vision and allow you to grow into the photographer you were meant to be.

Step 1.

Learn to SEE

Learn to SEE: Your photographer's vision is your ability to SEE the world in a way that opens you up to the beauty of everything around you. Photo courtesy of Steve took it
 
The first thing to keep in mind when developing your photographer’s vision, is to recognize that the skill you are growing is your ability to SEE. Now, many of you may exclaim, “I already know how to see.” But seeing in this sense, is not merely the sight process of your eyes.
As a photographer, “seeing” is the mix of your physical “eyesight” plus your mental “vision”. It is the ability to look at things as they really are to you, without the filter of “expecting” to see what you think it should be. It is the process of dropping all that you think you see, and really seeing the world for what it is. It’s not about adding more, but about seeing with “clarity.”
That is your goal as a photographer.

Step 2.

Observe your surroundings

A good way to practice enhancing your ability to see, and thus your photographer’s vision is the act of observing your surroundings. The great thing about this technique is that it doesn’t require any extra time. You can do it at any moment. It’s free. All it requires is a little extra “attention.”
As you go about your normal, everyday activities, just observe your environment. Look at what is in front of you. Don’t take your surroundings for granted. Rather, look at them in the same way, a growing, curious child looks out at the world.
Ask yourself, “what am I seeing? What am I looking at?” And then listen to your inner voice. Not your questioning voice, but your inner silent voice - the voice that has the answers.

Step 3.

Become fascinated with normal

Become fascinated with normal: When you learn to SEE by simply observing your surroundings, you will become fascinated with the ordinary. Photo courtesy of Bossbob50
A by-product of the simple technique of observing your surroundings is that you will become fascinated with everything you see. When you start observing your surroundings, you will begin to appreciate the world you see in front of your eyes. When you start to appreciate the beauty in the world, you start seeing it differently. Suddenly, everything becomes beautiful. Anything can be art. Everything is alive and flowing with a majestic beauty and you, as a photographer, wish to capture that beauty in your images.
When this happens to you, a portrait isn’t simply a portrait but a glimpse into the life of another loving, beautiful human being. A landscape isn’t just some mountains and a lake, but the result of trillions of years of evolutionary forces that made life on earth possible.
And then you see the simple beauty of a smile, the beauty of looking into someone’s eyes, the beauty of a tree, a flower. All things become beautiful.

Step 4.

Analyze your heroes

A great way to develop your photographer’s vision is to see what you like in the works of other photographer’s whom you admire. Take a look at images that strike you. Images that compel you. Photos that stir you.
Ask yourself, “what is it about these photographs that I like?”
See if you can’t come up with a list of traits, characteristics and qualities that they possess. Then incorporate these elements into your own photographs.
When you can learn to appreciate the intricacies and details in other people’s work, you will begin to appreciate your own.

Step 5.

Be your own coach

Once you have developed your own body of work, your next step is to be your own coach. Notice, I didn’t say, “be your own critic.” There’s too many negative connotations with the word “critic.” It’s more useful to learn to be your own coach. A coach is one better than a critic because in addition to seeing what is “wrong” with your actions, he can also teach you how to improve them. He helps you to grow. A critic merely criticizes.
All too often we become our worst enemy because we are our worst critic. Go over your photos, not with the intention of criticizing, but with the intention of helping yourself improve to be the best photographer you can be.
This process of self analysis will help you to see what you like about your own photographs. The things you like, you keep and improve. The things you don’t, you discard and rework.

Step 6.

Listen to your intuition

Often times in the process of reviewing your work, you will come across a question that you can’t seem to answer. It often sounds something like: “do I like this, or do I like that?” “Which is better, this or that?”
At these moments, you may feel stuck. You may feel your progress is halting because you can’t resolve this dilemma. You’re not sure which direction to take your photographs.
If you find yourself in these moments, the best answer for you is to “listen to your intuition.” Your intuition is that “inner voice” that knows all the answers. The best way to listen to your intuition, is to be silent with it. Your intuition is always there. Most of the time it can’t be heard because you are drowning it out with your own constant “chatter.”

Step 7.

Ask for input

This step is tricky because it takes a strong sense of self, or a strong sense of trust in someone in order to use this technique correctly. I almost didn’t want to add this in for these very reasons. Nevertheless, it is quite useful.
Another useful way to help you grow and progress with your photographer’s vision, is by asking others for their opinions. More specifically, ask someone you admire and trust for their opinion.
To use this technique appropriately, it is important that you remember their opinions are only there to help you. They are not gospel. That is why you need a strong belief in yourself. You need to be able to stand up for what you feel is right. However, don’t mistake this to mean you don’t listen to any help they may be offering. Instead, it is best to take their opinions with openness and understanding.
To help you navigate their advice, ask yourself, “does it make sense? Does it sound reasonable?”
Again, use what you feel is useful and discard what you feel is not.
And don’t forget to thank them for their assistance.

Step 8.

Take action

What good is all your observations, analysis, and critiques if you don’t apply them? At a certain point, you must take action. Too often we get caught up in the learning process and forget why we were learning in the first place. Imagine a writer who didn’t write. She may be the best writer in the world, but if she didn’t write anything - well, what good would that be?
Your photographer’s vision can only be put to use if you create photographs that reflect that vision. Therefore, the most important action for you to take, as a photographer is to simply take photographs. Soak in the information you need to improve yourself, but always remember the end-goal is to produce great photographs.

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Important Questions to Ask Before You Take a Photo

Here’s a list of important questions you should ask yourself before you take a photo. These questions will help you take more creative photos. They will make you think about the photography process instead of merely being a person who switches roles with a machine and lets the camera decide while being the automaton who merely pushes the shutter button.
These questions aren’t always easy to answer. In fact, they may be downright frustrating to answer at times. However, they will force you to use your creativity and help you look at your photography in a new light (pun intended) and only until you can see things in a different way, will you begin to advance in your photography journey. After all, isn’t photography the art of “seeing”?
It’s especially important to note that none of these questions are limited by your gear. I’ve specifically wrote them so that your gear (or lack thereof) won’t be an issue in helping you create beautiful, stark and interesting photos. I know I don’t have access to the best gear available. In fact, I shoot with a Canon T2i that I picked up for $400 used on ebay. Your creativity is primary, your gear is secondary.
And since this article is about a list of questions, I thought I'd write the entire article in question format - you dig?

Is this the best angle to take the photo?

High Angle: I took this image from the 7th floor. Who said you had to be on the streets to do some "street photography"?
Taking another picture at eye level? You don’t think we’ve seen that before? Have you tried moving your camera up (high angle) or really high (bird’s eye)? How about moving the camera down (low angle) or really low (ant’s eye)? What about tilting your camera at a slant (dutch tilt)?

Is this the best distance to take the photo?

Get closer: Did you ever think a drop of water could look so interesting? Have you ever seen one this close-up before?

Are you standing at the exact spot where someone handed you a camera to help them take a photo? Are you standing at the same spot every other tourist is? Why not move in closer to your subject? Never knew the details could be so interesting did you? How about getting really far away from the subject? Didn’t realize how shapes and composition become even more important?

Is this the best time to take the photo?

At another time of the day this would of just been a landscape photo of a bridge. At this particular time of the day, it becomes a MAJESTIC landscape photo of a bridge.

Do you take photos only when it’s convenient? Do you also lament at how your photos always look the same? Well, have you thought maybe its because you’re always taking them at the same time? Have you noticed how direct afternoon light creates intense, strong shadows? Did you see how the setting sun bathes everything in a warm, soft glow? Isn’t it cool that you can create exciting streaks of light by taking long exposures in the nighttime?

Can I get a more interesting point of view?

A simple photo + a great point of view = A GREAT simple photo.

Who says your subject has to be facing the camera? Wouldn’t it be cool to take a picture from the subject’s point-of-view? Would a picture of a public speaker look better from behind the podium facing the audience, rather than the typical front shot showing a simple background? Or how about a fly-on-the-wall point of view where foreground objects are exaggerated?

Is there a better composition for my photo?

What rule of thirds? I took this photo deliberately breaking any conventional compositional rules.

Do I really want my subject in the middle of the photo? Am I taking a portrait of a person with only half a body? Does my subject have no hands? Is the rule of thirds really a rule I have to follow? What will happen to my photo if I break the compositional rules I’ve learned?

What do I want the viewer to feel when they see this image?

I took this photo to portray a certain mood. Remember you images are viewed by humans, not computers.

Do you take your photos so that people can see them or just so you can store them on your computer? If your answer is the former, then have you ever thought about what kind of feelings, emotions and sensations you want your viewer to experience when they look at your photos? Do you want your viewers to feel happy, sad, afraid, curious, excited or angry? Do you like to look at pictures that evoke an emotional response or would you rather look at ones that don’t?

What creative effect am I trying to achieve?

There are many exposure settings you can use to take a photo. Tailor you exposure settings based on the creative side effects you are trying to achieve

Do you think there's only one way to get an exposure? What happens if you use a slower shutter speed and a smaller aperture? What about a higher ISO and a longer shutter speed? Wouldn't it be better to know what creative effect you want and then instead of asking, "what is the correct shutter speed?" - you can ask, "what shutter speed can I use to give me the creative effective I desire?"

Can I move my subject to get a better photo?

Who says you can't move you subject around? Who says your subject even has to be on the ground?

We all know that as a photographer you have the ability to move around your subject - but did you know that you can also move your subject around? What about having your subject in a different position? Instead of sitting why not try standing? Instead of standing why not try lying down? Instead of lying down why not try jumping?

Are there interesting elements in the scene or nearby that I can use to my advantage?

I love how Kazi Agaz incorporated the light source in this photo. It could have been taken without it, but I don't think it would of been as strong a photo

Are there some street lamps that will give a nice bokeh and provide some excitement to your nighttime portrait? How about shallow depth-of-field on some neon lights? Is there a prop that I can use that will add some interesting contrast?

Are there distracting elements in the scene that I can remove?

Some trees, two people and a tree. Sometimes the most interesting photos are the most simple. Remove the unnecessary and distracting elements in your scene to achieve this.
Is there a trash can in your beautiful portrait photo? Is there a tree sticking out behind your subject’s head? Are there people in the way? Are there objects blocking your view? Would it be possible to remove any of these?

What is interesting about my subject and how best can I express that visually?

 

baavla, the charmer: this man's face is perhaps his most striking feature, portraying an entire life story within the wrinkles and bumps.

Is there a striking visual feature about your subject that you can reveal in your photo? Is there a back story about your subject that you can get across? What is the most interesting aspect about your subject? What is it about your subject that grabs your attention and draws you in? Can you find a way to portray this in your photo?

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How Shutter Speed Affects Motion

 

If you've been following my lessons, you know that I talk about photography as having both a technical element and a creative component. That is, photography is both science and art. This lesson will show you how the technical process of shutter speed can be used for creative effect. Shutter speed is one component of the exposure triangle. Each component, ISO, shutter speed and aperture have two uses (one technical and one creative). The technical use of shutter speed is to determine the "exposure" or the amount of light that is allowed onto the digital imaging sensor by controlling how long the imaging sensor is "exposed" to light. The second effect of shutter speed is creative. It allows you to control "motion" in a photograph.
The following set of pictures will show you this creative principle in action. The photos were taken at the same time, only moments apart with the same camera and lens. Each photo represents a halving of shutter speed from the previous photo. In other words, the shutter speed was lowered by 1/2. Of course, the f-stop was subsequently increased to net the same exposure value.
As you look at the photos pay attention to the motion of the water.

Shutter speed 1/500, f4, ISO 200

Shutter speed 1/250, f5.6, ISO 200

Shutter speed 1/125, f8, ISO 200

Shutter speed 1/60, f11, ISO 200

Shutter speed 1/30, f16, ISO 200

Shutter speed 1/15, f22, ISO 200

Shutter speed 1/8, f29, ISO 200

Shutter speed 1/4, f32, ISO 125

Motion Freeze and Motion Blur

As you can see from the above photos, when you lower the shutter speed (increase the amount of time the shutter is open), you are able to create a sense of "motion" in your photograph. Likewise, with faster shutter speeds, the motion in a scene can be "frozen."
So by controlling the shutter speed, you can either "freeze" motion, I call it "motion freeze" or induce motion by causing "motion blur."

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